It’s 3am, and Lina just cried out and then coughed a few times before quickly falling back asleep. Now I’m awake and thinking about how my life has changed recently and over the years. There are huge and obviously great changes like Stephanie and Lina coming into my life, but then there are the little things, the small influences that people have had, perhaps without knowing it, that can also have big impacts over the years. And that got me thinking about…
What do Jim Jarmusch, Tom Waits, and Nabeyaki Udon have in common? Okay, probably quite a bit, but for me the answer has to start with “Bill Smith“. My friend Bill, whom I haven’t seen in probably 15 years, introduced me to all three of these.
Bill and I worked together at Simpact Associates, a small (now defunct) software company in San Diego, and one day he suggested we go to the Noodle House for lunch. This was a tiny place in a strip mall in Kearny Mesa, but we’d often have to wait outside the place for half an hour before getting a table to enjoy the delicious Japanese noodles (it was years later when I was studying Japanese that my sensei explained that ramen is Chinese, not Japanese–probably like someone from Mexico patiently explaining that fajitas are American food). Anyway, my love of udon and ramen was born then and in all this time I still haven’t found a satisfactory substitute in Seattle (recommendations welcome).
One day (probably in about 1988 or ‘89) I was over at Bill’s house and he told me about a movie I just had to see: Down by Law. He popped in a VHS tape and we watched the opening scene on his crappy TV, and it changed my life. If there’s a better match of a song to a scene in any movie, I don’t know what it is. The beautiful, simple, black and white panning shots of old, broken down New Orleans combine perfectly with the urgent, haunting sound of the song to put me in exactly the mood I assume Jarmusch was striving for. If you haven’t seen (and heard) it, please, rent it now. Tom Waits (acting and providing the opening and closing tunes), Ellen Barkin, Roberto Benigni, and John Lurie (who also composed the soundtrack). C’mon, you gotta see it. Jarmusch’s patience with a scene is amazing; he’ll linger on a face long after most directors will have cut to the next scene. He gives the scene time to sink in; he’s not afraid to let us feel uncomfortable for a while longer, or to wait for us to see the beauty in the absurdity. If you liked Lost in Translation, you’ll probably enjoy anything Jarmusch has made (and see the influence Jarmusch must have had on Sophia Coppola). Ghost Dog is another of our favorites.
The song, by the way, was Jockey Full of Bourbon, and I didn’t get it out of my head for days. I still can’t hear it without seeing that opening scene in my mind. You can find it on the Rain Dogs CD, but it’s really better to enjoy it the first time as part of the movie. Like Jarmusch, Waits doesn’t really seem to care what the marketing world wants. His music isn’t pretty; it’s tragic and beautiful and haunting. And his ability to turn a simple phrase into a mind-picture is unmatched.
It’s a sad and beautiful world, but my part of it is a perhaps less sad and a little more beautiful thanks to my old buddy Bill.